There are recordings made to reinterpret a familiar piece, and then there are recordings made because the music means something deeply personal to the person playing it.
Releases as a tribute to the late Maestro Luis Bacalov, Raffaele Scoccia has released “Il Postino” and the recording finds Scoccia returning to a piece of music connected not only to one of cinema’s most enduring films, but to an important chapter in his own musical life. Continue reading
Find out more about Ken Lovern and Blind Boone the Musical on the Website Continue reading
It is one thing to hear a piece of piano music and admire its elegance; it is another to feel as though you are tracing the path of the composer’s thoughts as they unfold in real time. That’s the quiet allure of La Rivière des Choses by Raffaele Scoccia- a piece that feels less like a finished statement and more like something gently discovered along the way.
The idea of a “river of things” suggests motion, impermanence, a steady passage of moments that never quite settle, and that spirit runs through every note here. Scoccia approaches the piano not as a vehicle for grand declarations, but as a means of observation. Themes emerge delicately, almost tentatively, as if they are testing the air before committing themselves, and just as often they recede, leaving behind a trace rather than a resolution. Continue reading
There’s a sense when listening to “Silent Mountains” that Raffaele Scoccia has stepped away from everything non-essential, not just in terms of arrangement, but also in mindset. This is a piece that feels like it arrives after a pause, after distance, after the kind of reset that comes from stepping outside of your usual rhythm and letting things fall quiet.
For an artist whose catalogue stretches across genres including the more groove-led, electronic work released under his Moon Rocket alias, this return to solo piano is clearly intentional. Not a retreat, but a recalibration. With “Silent Mountains”, Scoccia isn’t trying to merge styles or push the boundaries. Instead, he us gently narrowing the focus and trusting melody to carry the weight. Continue reading
On new album Far Inside, Italian composer Marco Di Stefano turns orchestral music into a living, breathing world of its own.
It’s an album that resists easy classification. Part film score, part folk chronicle, part meditation on memory. Instead of writing a suite of disconnected pieces, Di Stefano shapes Far Inside as a continuous emotional arc, a journey inward that still manages to feel expansive and global. Continue reading
In “Morphic Resonance”, Ben Neill doesn’t just compose a track. He constructs an alternate physics for music itself. The piece, named after biologist Rupert Sheldrake’s controversial theory that memory exists in nature through morphic fields, unfolds like a living system.
It’s cyclical, reactive and quietly radical. It’s not a song you hear once and remember – it’s one that seems to remember you. Continue reading
